Zachary Berns has beautifully blended deep house, lofi house, and jazz house in quite an echanting manner with his latest release “Incarnations”.
The U.S.-based musician and producer Zachary Berns has kicked off 2026 on a high note, launching his artist project last week alongside the release of his new album, Unlimited 008. – a title that truly sounds underground. Raw textures along with a nostalgic essence carries this listening experience, and this is highlighted on one of the brightest gems “Incarnations”. The presence of bright trumpets are tastefully contrasted with dim yet groovy bass lines while percussion embellishments keep the rhythm section vibrant. If you enjoyed this, I’d highly recommend diving into the beauty of the full project!
If you’ve been paying attention to the Dutch house underground, you already know the name Hidde van Wee. At just 22 years old, he’s stepping through it with a masterful knowledge of groove and atmosphere. This month, his journey hits a key moment. He debuts on Factory 93 Records. The release is a two-track titled Hold On Tight.
This release is the assured next step in a quick, steady ascent rather than an abrupt explosion. With releases on labels like Chris Stussy’s Up The Stuss, Rossi’s HOME//GRXWN, and Heavy House Society, Van Wee has been painstakingly establishing his reputation. It’s a sound that is both unquestionably new and firmly anchored in tradition. Now, with Hold On Tight, he brings his hypnotic, finely-tuned vision to a global stage.
“Hold On Tight,” the EP’s title track, teaches us about the power of subtlety. This music casts a spell rather than grabbing you by the collar. It is designed for a deliberate, physical pulse at a constant 130 BPM. The base is simple: it is heavily layered rhythm with a rubbery bassline that locks in your hips from the very first bar. It seems both restrained and irresistibly tactile.
However, the deep, emotive richness that van Wee adds on top is what distinguishes his output. A talkbox-style vocal hook gives the mechanical precision a heartfelt, human touch. It drifts in and out like a half-remembered conversation. A foggy, gloomy undercurrent is created by the track’s persistent string pads and wailing electric guitar licks. In the meantime, you are drawn further into its nighttime world. Airy arpeggiated “bloops” and river-like atmospherics help that. The song is a slow burn that flourishes in the club’s dim, transitional hours and is a masterful study in tension and release.
Van Wee delves deeper into that after-hours mindset on the B-side, “Mystery of Telekinetic.” Silky melody lines and shimmering, iridescent chord stabs combine to create a smooth, captivating rhythm. It’s more about generating a weightless, dreamy weave of sound.
“Hold On Tight” by Hidde van Wee is currently accessible on all platforms through Factory 93 Records.
THE MENDENHALL EXPERIMENT – A TALK WITH BRANDON MENDENHALL
Photo Stephanie Cabral
By Ralph Beauchamp
The Mendenhall Experiment was formed in 2008 by guitarist Brandon Mendenhall. AMP last spoke with Brandon in 2022. Brandon Mendenhall is not your typical guitarist. Brandon Mendenhall’s journey as a musician has been shaped by the daily realities of living with cerebral palsy, a condition that affects muscle control and coordination. Tasks that many musicians take for granted—precise finger placement, steady rhythm, or long hours of practice—often require extra effort, patience, and adaptation for him. Yet music remains a vital outlet for Brandon, a space where he can express emotions that words and physical limitations sometimes cannot fully convey.
Still, his perseverance reflects a deep commitment to his craft. Rather than allowing cerebral palsy to define the limits of his creativity, Brandon continues to shape a musical identity rooted in resilience, passion, and the determination to be heard on his own terms.
Back to The Mendenhall Experiment. The band is a super-charged bolt of dynamic energy. Their songs are filled with furious guitar riffs, devastating vocals and melodic upheavals. The Mendenhall Experiment have just released a new EP entitledChasing Ghosts which ties together loose ends that have been around for a few years. Their sound caters less to perfection and more towards honest expression. The Mendenhall Experiment‘s music is full of transcendent moments that separates them from the norm. This is for the listener that needs hard driving tracks in order to survive. TMX is the real deal.
The Mendenhall Experiment is comprised of Brandon Mendenhall (Guitar), Mario Valadez (Vocals), Nathan Stockton (Bass) and Cameron B. Casey (Percussions)
Brandon Mendenhall was kind enough to sit with AMP for this in-depth interview.
AMP: We last spoke in 2022. What’s new with the band? Any line-up changes?
BRANDON: So, we have a new drummer. His name is Cameron Casey. He’s a young kid who is really driven and a all-around good guy. I couldn’t be happier. He’s probably the best drummer I’ve played with.
AMP: Your new EP is entitled Chasing Ghosts. Can you give us a little insight into the release?
BRANDON: In a nutshell, Chasing Ghosts is a project that ties up loose ends for The Mendenhall Experiment. It’s the left out singles from our first two EPs. We wanted to put them in an official release so our fans could appreciate the songs in a physical form. It’s a cool addition for their collections. It’s kind of having our two worlds collide. You have material from Seize the Day and Against All Odds come together.
AMP: You worked with producer Chris Collier (Korn/Prong) on this project. How did that go and how much input do you and the band have in the studio?
BRANDON: Chris is like a member of the band. I don’t see that changing anytime soon. Basically, we bring in the songs and we get them as close as we can to where we want them to be. Chris then adds his expert perspective. He fills things in and brings the tracks to another level. The band still has a lot of input in the final mixes. If there is something we dislike, it’s taken out. Chris is there because he has a certain vision that truly expands our sound. With that said, our writing must have improved because all of our recent arrangements stayed the same. Maybe, we actually know what we are doing!
AMP: What does the band’s songwriting look like – lyrics first, melody first, or something else?
BRANDON: Usually for me, music comes first. Melodies and lyrics come later. It just the way I usually write.
AMP: Your music is full of fire and verve. It’s hard to believe you are still unsigned. What’s your take?
BRANDON: That echoes what we’ve been hearing lately. All we can say is “come on guys-we’re ready to talk.” It’s tough being an independent band. All the funding rests on our shoulders. It’s extremely hard to keep it financially going but I believe it will come with time. All we can do is keep pushing till some label takes the plunge. I honestly don’t think they have heard us yet. They just don’t know. As soon as some A&R rep hears our music, we should be on the right track. In the meantime, we are just going to do what we always do. Put out great music and play awesome shows.
AMP: Korn has been a major influence in your life. What current artist also gets your juices going?
BRANDON: 100% Spiritbox. I love that band. I think they are phenomenal. They deserve all the success they have received.
AMP: What does “Experiment” mean to you in terms of your music?
BRANDON: In the beginning, the band was my very own “Experiment”. The plan was to put aside my cerebral palsy and create a band. From there, make amazing music and get signed. Then take that band onto the national stage. Ten years later, I can say I have achieved most of that. The “Experiment” is sill alive and I want our music to speak for itself. Now, it’s not about my story but the music around that story.
AMP: How does your live sound differ from your recorded music?
BRANDON: It’s way heavier. My influences tend to be on the heavy side and I feel that truly comes out in our live shows. Even though. a lot of our recorded music tends to be melodic, we crank it up live.
AMP: What do you hope your audiences feel or experience at your shows?
BRANDON: I want them to get relief from all the life drama they are experiencing. We want to be their outlet for a reprieve from their everyday stress. Also, I hope they get a sense of purpose. I want them to be active and succeed in life. Don’t ever give up!
AMP: What have been some of the biggest challenges you’ve faced as a band?
BRANDON: Once again, finances. Finding the money to do it right. We need to continue on the same creative level as we have been. In addition, we need to stay relevant and expand our horizons. Every new song is an evolution for us.
AMP: What goals do you have for The Mendenhall Experiment? What is it going to be like for the next few years?
BRANDON: In the words of Jim Morrison, I want to “break on through (to the other side).” We need this year to change our narrative. At the moment we are working on a new full length. We are already in pre-production. Chasing Ghosts was about tying up loose ends and now we plan to move forward. It’s also the re-introduction of our original vocalist, Mario Valadez. We are looking to do more touring this year especially playing festivals. We are reestablishing our footing in 2026. So, when we enter 2027, the new album drops and we hit hard. It’s all going to be about momentum.
THE MENDENHALL EXPERIMENT – A TALK WITH BRANDON MENDENHALL
The liner notes for Tarabita Espiral (Relative Pitch Records, 2025) ground its sonic cartography in the long-distance friendships between Colombian saxophonist and clarinetist Maria Valencia, Puerto Rican born and NY-based double bassist Brandon López, and NY-based vibraphonist Matt Moran. It’s clear that locality figures significantly into the trio’s musical lineages and the current context for … Continued
I’ve been dormant for several years, however, a rebuild of and customisation of older guitar has sparked a new fervour for composition – hence “maiden voyage ’88” being the first song from this beloved guitar.
Sometimes life gets in the way of musical passion, but it is so rewarding to hear a finished piece. It is a harmonic minor feel with major elements as I always appreciate “hope” within melancholy. It took 3 months on-and-off to get all the parts recorded. I hope you can enjoy this as much as I enjoyed the liberation of writing it.
